So, the signal goes into on the G-Labs Midi 4x Looper M4L “Y,” then the output is split four ways, A,B,C,D each feeding the input of the subsequent modulation units as well as the dry signal continuing through to the RJM mixer. It looks a little like this: This is underneath the pedal lifter I made I thought that I would keep the dry/dirt signal separate from the modulation pedals, and then mix them back together at the end of the chain with an RJM Mini Mixer. So, this really is where things get a bit crazy. The big trick section of the pedal board is the Modulation section. I've tried a lot of different volume pedals, but the Boss feels the best under my foot. Also, keep in mind, that even though this pedal is passive, the buffer on the G-Labs and the Boss EQ are cranking the signal through the chain, there is no tone loss whatsoever. Then the signal goes to a Boss FV-500H volume pedal. This is for a solo boostįrom here the guitar signal leaves the G-Labs GSC-3 and heads out to standard Boss GE-7 EQ. This is an amazing pedal that often goes unnoticed, its deep and responsive. This typically gives the pedal more head room. Some pedals, especially overdrive pedals can be run at 18v. It is just as good as any Pete Cornish pedal or hype-bot boutique maker pedal The Timmy is a medium/low gain overdrive pedal that I use for “jangle” style dirt. (located on the top) This is one of my all time favorite finds I run it at 18v with the high gain switch engaged. This extraordinary hand-built German pedal is used for all high gain needs. For me this is an excellent choice and has a real modern compression tone whether I play a Fender Stratocaster, Paul Reed Smith, or a Gretsch Tennessee Rose. A lot of compressors really favor one or the other. I wanted a compressor that could handle both The Boss CS-3 Compressor is great for both single coil and humbuckers Has nothing plugged into it and is used as a Send/Return just in case I wanted to add a pedal in on the fly. When your foot is on the wah, the pressurized pad underneath turns the loop on and off Additionally, it rests on a TBWP Wah-Pad by G-Labs, which is pressure sensitive, so that when your foot is on the wah pedal, the loop is active. It also includes a selector on the side that lets you change the sweep filter. This cherry of a boutique wah is a clone of the old Vox Wahs. The 6 loops are each assigned to a different pedal. See Related Post: Midi Digital Linguistics This is key if you want to be able to change commands on the fly. This then allowed me to switch the Eventide Timefactor and Modfactor independently from each other. Not only can it do any combination of any loops, but you can program it to recall any one loop like an “instant access” button AND what really sold me was the ability to control 3-5 midi units, all on separate channels. I spent quite of bit of time researching this unit, and I am blown away by all the features it has for the price. The left side of the G-Lab GSC-3 Controller This MIDI foot controller sports the ability to switch any combination of 6 audio loops and send program changes or control changes on 3 separate midi channels. II) G-Lab GSC-3: The main “brain” of the pedal board is the G-Lab GS-3. See Related Post: Building a Custom Pedal Board Interface The Guitar cable plugs into the top of the interface I) Pedal Board Interface: The Guitar cable goes into a pedal board interface that I made using Nuetrik locking jacks. Then two Eventide pedals on top of the power supplyĪs you can see from the pic, putting pedals on top of power supplies is a great use of space! The CAE 401 Power Supply then goes on top of the rack drawer bottom. I placed a CAE 401 Pedal Power supply on top of the rack. The Rack drawer bottom now attached to the Furman Then, I attached the bottom of a rack drawer over the space, so I could mount on the new power supply. This is the power supply cable that goes to the G-Labs GSC-3 With the power supply removed I routed the power cable that goes to the G-Lab GSC-3 in the space. Quite simply unscrewing 10 screws from the back allows you to easily remove the silver chassis. I took this Furman SPB-8C pedalboard that had a bad power supply and removed it from the board. Even though it doesn’t quite have all the bells and whistles, it does some unique things in the design that sound fantastic!īefore I delve into the signal chain, I thought I would start at the beginning of the board, as I made some fundamental changes so that everything would fit.
The “B” Rig is a pedal board that can function very similar to the “A” rig rack.
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